Friday, December 31, 2010

Emily Bergl plays as Rachel Lang, a young telekinetic teen that is tormented by her peers. After attempting to control her powers, she is pushed to the edge by a group of cruel jocks that set her up for embarrassment. This long-delayed sequel is a hip new update with a glossy appearance that was made to appeal to the younger teen audiences in the post-SCREAM era. It is filled with familiar faces from many popular television series, with the welcome addition of Amy Irving reprising her role as Sue Snell (now the school councilor). Bergl and Irving offer up a pair of decent performances in an otherwise bland teen drama that would have been much better suited for prime time rather than the big screen. There is little thought or care put into the development of the plot, as it all dispensable filler used to eat up time until the bitter end. THE RAGE takes no risks, and only provides a teen-friendly rehash of the events from the first film with just a splash of blood.

Thursday, December 30, 2010

Stephen King's classic tale of teenage revenge is brilliantly brought to life in Brian De Palma's CARRIE! The poorly misunderstood Carrie White is tormented by her fellow classmates and scorned by an abusive mother, but her years of ridicule are now manifesting themselves into a powerful psychic force that she will use to avenge herself.

De Palma opens with a soft, sensual shower scene that is highlighted by Pino Donaggio's magnificent score. The mood immediately shifts to pure psychological horror as Carrie is assaulted by the other girls after her first period causes her to panic in the locker room. These feelings of repressed anger and sadness will continue to build throughout the picture. Sissy Spacek's Oscar-nominated performance as Carrie is crucial to the film's success. Her shy and apprehensive take on the character is played to a flawless perfection, while her fiery inner anguish is unleashed like a phoenix in the climactic ending.

CARRIE is lined by more fantastic performances from each of its supporting cast members, with Nancy Allen, P.J. Soles, and John Travolta delivering menacing roles as the high school bullies. It is Amy Irving and William Katt that become the most interesting of the teens as Sue and Tommy thanks to the growing ambiguity that is written into their characters. Tommy's charming smile can be read any number of ways, but always seems to allude to a vicious deception that never surfaces. It isn't until Sue's ironic ejection from the prom by Miss Collins that their true intentions are finally revealed.

Piper Laurie's exaggerated portrayal of the crazed Mrs. White is taken to a state of super-villainy, with her religious zeal serving as a constant source of satire. De Palma uses countless visual clues to accentuate Mrs. White's domineering persona. She is typically shot from low angles in full-frame, giving her an imposing presence on-screen. This is opposed to the high angles that Carrie is filmed from, which depict her as a cowering child that is forced into the corner of the screen. Little notes, like the weathered "For Sale" sign next door or Mrs. Snell's general unease, also work against Laurie's character.

De Palma uses many of his favorite techniques to create CARRIE's unique look, most notably in his use of split-screen and dual lenses to bring the foreground and background into focus simultaneously. In what may be De Palma's defining cinematic moment, the camera follows as the prom ballots are collected and swapped, tracing each of the co-conspirators before it ends up overlooking the prom from atop the fateful bucket of blood.

CARRIE is Brian De Palma's greatest achievement within the genre, and one of Horror's finest films. It epitomizes the teen revenge thriller, both with its incredible cast and superb direction.

Emerald City Pictures to ReleaseEyes in the DarkThe thrilling new Horror film by director Bjorn Anderson

SEATTLE, WA - December 31st, 2010 - Shot hand-held in first-person POV style, Eyes in the Dark is an independent film that follows a group of college co-eds on a weekend cabin getaway in the Washington State Cascade foothills. Brought to you by the filmmaking team behind Warrior’s End, Eyes in the Dark combines the characters’ compulsive self-documentation and laid-back humor with the raw terror they uncover after crossing paths with an ancient evil.

The filmmakers blended the improvisational talents of the actors with beautiful but brooding locations to create a vision that plays on our fear of the unknown. Set in a fictionalized area of the Cascade Range with a long history of legends and mysterious disappearances, the film quickly transports the audience to a place of excitement and terror.

THE COLLECTOR is one of the most frustrating recent additions in Horror. Marcus Dunstan did not feel he had done enough damage to the genre by scripting the FEAST and SAW sequels, so he felt compelled to write and direct his own new series in order to further anger and confuse film fans. THE COLLECTOR follows an ex-con who breaks into a client's home in an attempted robbery, only to find out that a sadistic killer has already broken in and setup a number of deadly traps all throughout the house. Dunstan adapts James Wan's kinetic filming from SAW and turns it into a nauseating viewing experience. On top of the flash cuts and distracting edits, there are a number of unneeded shots that are in no way linked to the plot. The two worst examples include a first-person perspective shot taken from a drop of rain as it falls to the ground, and a microscopic zoom that travels into the eye of a spider. Why? Aside from the annoying visual style and obnoxious score, the logical inconsistencies are enough to drive any viewer mad. The time frame that is established only gives the killer a matter of hours to rig a series of intricately-laid traps, and that is assuming that the family even left the house at all in order for him to do so. The presumably human killer is also impaled by one of his own cruel devices, which should have left him dead, but instead has no effect on him whatsoever. On top of that, the little plot that exists is unnecessarily contrived, with the film's antihero forced into robbing his client to pay off his wife's debts to some loan shark for reasons that are never explained. Dunstan only succeeds with the impressive amount of gore that he packs into each of the grisly traps. If he had only stripped the production down to a much more simple shooting style and dropped the useless additions to the plot, he could have had an interesting and bloody entry in the Torture Porn genre. Instead, THE COLLECTOR comes off as being trite, self-indulgent, and utterly pointless.

WINTHROP, WA - December 30th, 2010 - Writer/Director Sage Bannick (Just Hustle) will be touring “The Absent” along the West Coast in select theaters while the film will be available On Demand Nationwide. To by followed by a Passion River DVD release (March 15.) and International release by Galloping Films.

The thriller/horror film is produced by Chris Siverston (I Know Who Killed Me) and Executive Produced by Mike Josten (Night of the Demons).

“The Absent” centers on Vincent, a high school teacher forced to choose between career and a love affair with Katie, one of his students. The pressure mounts when his twin brother, Oscar, returns to town after serving 25 years in jail for killing their parents. One by one Katie's friends disappear, prompting the local Sheriff to target Vincent as the number one suspect. Vincent knows his brother is involved, but is unable to catch him in the act until the final scene. By then it is too late. The hunter becomes the hunted.

Cast includes Bryan Kirkwood (“Hellbent,” “Reel World: The Lost Season”) as Vincent with Yvonne Zima (“The Young and the Restless,” “Long Kiss Goodnight”) as Katie. Vanessa Zima (“Ulee’s Gold,” “Wicked,”) plays Katie’s best friend Amy Jones. The homicidal twin, Oscar, is played by Bryan's real life twin brother Denny Kirkwood (“Never Been Kissed,” Groove”). The Sheriff is played by Sam Ball (“13 Going on 30,” “The Last Castle”) and Jennifer Blanc-Beihn (“Dark Angel,” “The Victim”) makes a cameo appearance as Kathy Jones.

Featuring the music of "Blind Melon."

The film was shot in The Methow Valley, Washington and in Santa Clarita California in the fall of 2008. It was edited in on the Big Island of Hawaii at Lalimilo Productions and finished in Los Angeles California. The Sound was mastered at Todd AO studios with the help of Sound Delux and the color was timed at Laser Pacific.

“The film was a labor of love for all those involved. It was the work of friends and family coming together for arts sake,” Sage Bannick.

“We really wanted to pay homage to other Washington Filmmakers like David Lynch. You can see several references in the film like the address on the mailbox or the décor in the police station.” Bannick Stated. “We wanted to create a film that would appeal to the horror hounds, the teens and the movie buffs like me and my co-writers.” Bannick said, “I love the genre and want to try to continue to bring new takes to the old themes.”
Read The Full Post HERE!

CineAsia Presents...MISSINGA KIM SUNG-HONG FILM154,000 people go missing in Korea every year.Of them 25% are found dead.Only 1% survives the ordeal.And the rest still remain...

Based on true events that shook a nation...

HITCHIN, ENGLAND - December 30th - When Film Director, Hong, takes young starlet, Hyun-ah, to the countryside to discuss a new role, they stop at a farm that is renowned for its home-made chicken soup.The owner of the farm, Pan-gon, is a recluse and social outcast with a very dark secret. Jealous of Hyun-ah’s beauty and insulted by her disdainful treatment of him, he ruthlessly strangles and imprisons Hyun-ah in the basement. Does he want to torture her, use her for sex, or is his agenda even darker?

Meanwhile, Hyun-ah’s sister becomes concerned over her disappearance and contacts the police. A trail of evidence points toward the farm, but will they make it in time to save Hyun-ah from the whims of the unhinged maniac, or will Pan-gon’s vengeance be complete?

Seth Brundle's genetically-altered offspring takes flight in THE FLY 2! Young Martin Brundle is taken in by Anton Bartok, the owner of Bartok Industries. Bartok raises him as if he were his own sick science experiment, monitoring his accelerated growth and learning patterns while waiting for any unexpected mutations. As Martin reaches maturity, he is brought on to finish the research his father had started on teleportation. After uncovering Bartok's true intentions for the devices and himself, Martin escapes with the help of a young lover, but without his daily injections, his rapidly changing chromosomes transform him into a monstrous human fly!

Chris Walas, the man responsible for the incredible creature effects in THE FLY, returns to direct the blood-soaked sequel. THE FLY 2 lacks much of the intelligence and bitingly dark humor from Cronenberg's film, but it is not the incompetent mess that it is often made out to be. Although it is not a direct remake of RETURN OF THE FLY, it does share many of the similar plot elements, including the surprisingly upbeat ending. Eric Stoltz is an awkward genius, which is very fitting for the role. Above all else, the gory special effects and spindly creature designs are top-notch, displaying some of Walas' finest work. Martin's insectoid form looks much more like a giant six-foot tall fly than his father Seth's mutated state, complete with four arms and a nasty temper. Unfortunately, much of the plot falls back on the redundant retooling of past ideas before finally giving way to the all-out chaos in the end. THE FLY 2 may be a huge step down from the original, but the monster mayhem makes it an entertaining watch.

Wednesday, December 29, 2010

Access government file: EYES IN THE DARK. Play All. EYES IN THE DARK uses the same "found footage" format that has been popularized in recent film by REC and PARANORMAL ACTIVITY. It strings together various pieces of video evidence that were collected at the investigation sights of several murder scenes in the Cascade Mountains. Videos taken from camcorders and cell phones show signs of a killer beast that has been stalking hikers in the woods, one with glowing red eyes and huge fangs... One of the benefits to this type of filmmaking is the increased sense of reality that is achievable on a non-existent budget. The same holds true for EYES IN THE DARK, but this style also opens it up to a number of common pitfalls. While its dizzying visuals and inaudible dialog detract can from the viewing experience, they also aid in establishing the authenticity of the amateur footage. It is impossible to tell if the decision was made for pure aesthetics, or if it was chosen to cover up the obvious faults in the production, but the weak acting and writing might suggest the latter. Although there are several exciting moments where hints of the monsters appear out of darkness during the attacks, creature fans that are expecting a big payoff in the end may be slightly disappointed. Bjorn Anderson does as much as he can with his limited resources, and comes through with a passable monster film that will only appeal to fans of this particular style.

Seth Brundle has done it. He has mastered the art of teleportation using his two telepods along with his brilliant research. The only problem is, he is unable to transport living matter without horrifying results. Seth enlists the help of a beautiful young journalist to document his discoveries, and the two enter into a steamy romance as he works to unlock the secrets of the flesh. Seth is finally successful, but in a fit of jealousy, he makes the rash decision to enter the machine himself before he can finish testing. What he doesn't realize is that a small intruder has entered the machine with him, turning his teleporter into a gene-splicer as he exits the machine to become a mutant monster!

David Cronenberg's unique vision is every bit as powerful and terrifying as 1958 classic THE FLY, but with an entirely different focus. Cronenberg takes the shock and suspense of the original and adds to them his own twisted body horror fetish in the form of disgusting disfigurements and gooey pus-filled sores. Brundle's transformation not only alters his appearance, but changes his entire genetic structure. This allows him to climb walls while also significantly increasing his strength and agility. Unfortunately for him, his new found powers are met with a debilitating physical transformation as well. Jeff Goldblum similarly exhibits a psychological transformation, taking on the twitchy mannerisms of a fly in both his movements and speech patterns. Goldblum is the ideal choice for Cronenberg's reimagining of the maniacally-obsessed genius who is consumed by his research. Geena Davis also delivers an emotional performance as Seth's torn lover in a role that would shake her to her fundamental core in the years following production. The stunning photography gives the film a timeless quality despite the 80's fashion and technology, and Chris Walas' amazing creature designs are just as effective today as they were upon their release. All of the action and terror hits the screen at breakneck speeds leading up to the thrilling conclusion, where Davis must face off against the fully-mutated Brudlefly. The 1980's produced many of the finest remakes in Horror, and David Cronenberg's THE FLY proves to be top-ranked among them as one of his many masterpieces.

Rating: 10/10. Gore: 7/10.

If you liked THE FLY, check out:VIDEODROME, THE THING, INVASION OF THE BODY SNATCHERS.

Monthly BLEEDFEST FILM FESTIVALannounces January 2nd lineup:Starts the New Year with a BANG! celebrating female filmmakers who make westerns and horror

December 29, 2010 – Los Angeles, CA - The highly anticipated Inanna Award (AKA “The Bleedy”) a bronze statue designed by Neal Harvey of RubberGorilla.co.uk, was revealed in a video presentation at the BleedFest December 5th Awards Ceremony. The first Bleedy Award will be handed out live January 2nd. Your sneak peak: http://www.vimeo.com/17512261

The Bleedy will be awarded to the In Competition Feature Trailer chosen by the audience, and to the feature A FOUNDLING.

Three short films screened will receive an Award Certificate and Winner Laurels to add to their publicity campaigns, as well as pictures on the red carpet: period thriller THE BOARDER by Susan Bell (Bell’s THE PATCHWORK MONKEY will play February 6th’s WOMEN IN HORROR BleedFest), caped comedy SUPER MORNING by Julia Camara (BleedFest December alum SCREAM MACHINE, AREA Q), and western domestic abuse comedy UGLY ON THE INSIDE by Whitney Boe (MYTHIC JOURNEYS).

The In Competition category is comprised of six trailers of feature films written or directed or produced women. They are FUGUE by Barbara Stepansky (HURT, Emmy winner for THE TROJAN COW), AMERICAN MARY by the Soska Sisters (BleedFest alum DEAD HOOKER IN A TRUNK), BleedFest alum IN MEMORIUM by Amanda Gusack (THE BETRAYED), STOP, I’M NOT DEAD YET! by Anne Norde, GOLDEN EARRINGS by Marion Kerr, LEGEND OF THE RED REAPER produced by and starring Scream Queen Tara Cardinal (SONG OF THE SHATTERED, DOG FIGHT).

BleedFest’s coveted Partnership Award is bestowed each month to a male filmmaker whose genre film has captured the spirit of BleedFest in its unusual, bold, and refreshing female protagonist. The recipient of January’s Partnership Award is filmmaker Mando Franco, for his riveting and inventive short film LUNA.

BleedFest has a red carpet, an event photographer, a VIP Guest section, and an OPEN BAR for only ten dollars cash at the door.

Help us help female filmmakers! We need your financial support, and for you to spread the word that we, and genre female filmmakers exist!

~~~~~~~~~~~~Ballots given to audience~~~~~~~~~~~~1:45pm-2:15pm IN COMPETITION: feature trailersFUGUE by Barbara Stepansky Q&AIN MEMORIUM by Amanda GusackSTOP I’M NOT DEAD YET by Anne Norda Q&AGOLDEN EARRINGS by Marion Kerr Q&AAMERICAN MARY by The Soska SistersLEGEND OF THE RED REAPER produced by Tara Cardinal Q&A~~~~~~~~~~~~Ballots collected from audience~~~~~~~~~~~~

2:50pm-3:40pm SHORT FILM GOULASHDRUG(ged) by Brenda Fies (7 minutes) Work in Progress, Out of CompetitionTHE BOARDER by Susan Bell (9 minutes)SUPER MORNING by Julia Camara (3 minutes) Q&AUGLY ON THE INSIDE by Whitney Boe (17 minutes) Q&ACONSUMED by Elisabeth Fies (6 Minutes) Out of Competition

3:40pm AWARD CEREMONY Audience Award presented

See the Bleedfest website at www.bleedfest.com for film synopsis, filmmaker bios, links, and contact info.

COMING February 6th: WOMEN IN HORROR RECOGNITION MONTHFebruary schedule will be online January 3rd, 2011.

Monday, December 27, 2010

Mario Bava, the Italian Master of the Macabre, conquered the Sword and Sandal genre in between filming two of his greatest Horror masterpieces with the stunning fantasy epic HERCULES IN THE HAUNTED WORLD. The great Hercules must travel into the bowels of Hades with his trusted ally Theseus in order to retrieve the sacred stone that will restore life to his lady love, the Princess Deianara, but the treacherous King Lico will stop at nothing to see that Hercules is killed so that he may usurp the throne! The extraordinary use of color, sound, and lighting that would dominate Bava's later films are all present as Hercules battles his way through throngs of the undead in the underworld. His vibrant red, green, and blue hues are met with creeping mists, towering sets, and an incredible mix of matte paintings and miniatures that extend the modest budget into an elaborate production. Our dashing hero is played by the handsome and powerful Reg Park, who must use his brute strength to overcome a conniving Christopher Lee as King Lico. HERCULES has all of the exciting action and adventure of the Pepla films set to an eerie and frightening mood, while demonstrating that Mario Bava's skills as a director reach far beyond just the Horror genre.

Rating: 9/10.

If you liked HERCULES IN THE HAUNTED WORLD, check out:CLASH OF THE TITANS, THE 7TH VOYAGE OF SINBAD, JASON AND THE ARGONAUTS.

Sunday, December 26, 2010

With Slasher remakes at their peak in the late 2000's, every property seemed to be springing back to life in one form or another. SLEEPAWAY CAMP found its way home thanks to 2008's long-awaited sequel, RETURN TO SLEEPAWAY CAMP. This fourth installment ignores the events of the second and third films, and feels much more like an attempted remake than it does a straight sequel. It's summer time once again at Camp Manabe, and poor misunderstood Alan is being tormented by the other teens. They tease him and play cruel jokes on him, but their evil acts only end up getting each of killed by a mysterious maniac that is stalking the campground. Unlike the lovable Angela, Alan is a slovenly jerk that deserves everything he has coming. He is often more cruel and obnoxious than his tormentors, which makes it absolutely impossible to empathize with his situation. The juvenile script and amateur direction only make the terrible performances that much more apparent. In a typical Slasher, most of these flaws could easily be overlooked in lieu of the graphic violence and gore, but even the deaths in RETURN are cheap and unimaginative at best. There are really only two things that writer/director Robert Hiltzik managed to complete successfully: Hiltzik captures a nostalgic 80's aesthetic that closely resembles the look and feel of the original film, and he has brought back several returning cast members as well, including Paul DeAngelo as Ronnie, Jonathan Tierstan as Ricky, and even Felissa Rose as Angela. Other than that, the film is an overwhelming failure.

Tuesday, December 21, 2010

At first glance, Jon Izzard's Werewolves seems like nothing more than a quick pop-culture guide for young readers, but Izzard's extensive knowledge and thorough research proves that he is well qualified to handle the subject matter. Werewolves opens with the lore of the wolf as explored through various cultures and its social significance therein. Next, it spans across various aspects of the psychological and spiritual werewolf, from the different forms of lycanthropy to the prospect of werewolfism as a form of astral projection. Izzard then discusses many instances of werewolves throughout recorded history and ancient lore. From here, the book spreads out to cover more recent works of werewolf fiction, primarily in film and television. This is where Izzard is mostly likely to receive criticism for including entries on teen-friendly Horror efforts like TWILIGHT or BLOOD AND CHOCOLATE while glossing over or neglecting important films and actors (Jacinto Molina, the Spanish Wolf Man, is completely forgotten). One must take into account the intended audience for a book such as this, however, as it is not (nor was it ever intended to be) a complete compendium on the subject matter, but rather a brief overview providing the widest range of information in a widely-accessible format. Despite that fact, Izzard never attempts to dumb the material down for his reader. He takes a scholarly approach to the mythical beasts while providing plenty of thoughtful critical analysis. Werewolves is a thoughtful and entertaining read that serves as an excellent introduction into the world of the werewolf.

Monday, December 20, 2010

With his mother fresh in her grave after losing her sanity, the young Philippe Delambre resumes his father's research in an attempt to succeed where his father had failed in the transmission of living matter through time and space. Tragedy strikes twice, however, as Philippe suffers the same damnable fate as his father in becoming a half-human freak! RETURN OF THE FLY follows many of the same familiar steps as the original, but lacks the emotional strength shared between the two leads from before. The great Vincent Price plays a much larger role in this second film, serving as a friend and mentor to his stubborn nephew. What is most unique in this feature is Philippe's growing paranoia of the pesky flies that seem to trail his every move, a bit of foreshadowing that leads towards an all-too-expected end. A subplot involving industrial espionage also adds a touch of Film Noir to the scientific backdrop. Philippe's monstrous alter-ego does not make an appearance until late in the picture, but while the creature's design is quite impressive, its bulbous head does seem rather silly. RETURN's greatest casualties then becomes its conflicting plot tools, sluggish pace, and surprisingly upbeat ending, which hold it back from becoming more successful. Still, RETURN OF THE FLY provides ample shocks in its final scenes to please the fans that eagerly awaited a sequel.

"Help me! Help meee!" 1958 saw the release of one of Horror's most memorable movie monsters: THE FLY! The police are investigating the murder of a brilliant researcher when they learn that it was his wife, in fact, that killed him. She tells the tale of daring new science experiment that had gone horribly wrong, where her husband was mistakenly crossed with a fly during an attempt at human teleportation. THE FLY leaps far ahead of its B-movie brethren due to Kurt Neumann's superb handling of the material, taking a silly plot and transforming it into a conceivable human tragedy. David Hedison is brilliant in the role of the mad doctor; a charming husband on the one hand, but an obsessive scientist with an undying lust for knowledge on the other. It is Patricia Owens that is left to carry the film after the accident, and she does so with a striking performance that is filled with loving devotion for her poor unfortunate husband. The greatest shock comes when Hedison steps out of the transporter after attempting to reverse the effects of the transmutation, revealing for the first time his hideously deformed appearance. Neumann also introduces a unique kaleidoscopic lensing for the first-person perspective of The Fly in the thrilling climax. THE FLY is a distinguished classic that is essential viewing for all Sci-Fi and Horror enthusiasts!

Rating: 9/10.

If you liked THE FLY, check out:RETURN OF THE FLY, THE TINGLER, THE THING FROM ANOTHER WORLD.

Just when you thought it was safe to go back to camp... Camp New Horizons opens its doors to a group of inner-city youths, but what the councilors don't know is that the infamous Angela Baker has killed one of their teens and taken her place amongst the campers! Pamela Springsteen returns in another hilarious performance as everyone's favorite transvestite killer with plenty more tricks up her sleeve. While many of the teen characters are barely passable in this third outing, TEENAGE WASTELAND takes full advantage of the idiotic extras by raking in the largest body count in the series. The censored deaths are far less bloody than intended due to the strict scrutiny the MPAA showed against the Slasher genre towards the end of the decade, but one needs look no further than the Special Features on the DVD release to cash in on the gory leftovers. Michael A. Simpson makes up for it by packing in all of the same great nudity and cheesy humor from before, making this another highly entertaining (if not utterly stupid) camp classic!

Angela's back, only this time, she is the lead councilor at Camp Rolling Hills just a little ways down the road from her old killing grounds. Now, Camp Rolling Hills is about to become Camp Rolling Heads for any of the unlucky campers that decide to break the rules! Any shred of seriousness that may have been left over from the first film is traded in for gratuitous boobs, blood, and bad jokes in this campy sequel. Angela spends most of her time spouting out silly one-liners when she's not taking stabs at each of the major Horror franchises. Even though Felissa Rose is missed in the lead, Pamela Springsteen's cheery attitude makes her an excellent replacement as the transgendered terror. Angela torches two teens, drills another, drowns one in an outhouse, decapitates a few, and then dices up the rest with whatever other gardening tools she finds lying around. SLEEPAWAY CAMP 2 is a bloody good time with plenty of late-80's cheese to go around!

One of the greatest Camp Killers of them all, SLEEPAWAY CAMP will always be remembered more than anything else for its jaw-dropping finale! Young Angela is adopted by her bizarre aunt after her father and brother are killed in an unfortunate boating accident. Years later, she heads off to summer camp with her cousin Ricky, where she is picked on by the other kids for being different. One by one, the dead bodies of her teen tormentors start turning up all around camp, but cute little Angela can't be the killer... Can she? Unlike so many other Slashers, this cast is actually filled with teen actors and not 30yr old stand-ins for a nice change of pace. While there is surprisingly little blood, SLEEPAWAY CAMP has no shortage of grisly murders, including a violent drowning, a boiled cook, death by bee stings, countless stabbings, and a curling iron up the c... skirt? The starry-eyed Angela is sweet and unassuming, as compared to her foul-mouthed cousin who is always looking out for her when he's not getting into trouble. This sets up two potential killers who each have their own reasons for revenge. SLEEPAWAY CAMP offers a lighter twist on the Slasher genre with plenty of mean-spirited fun and brutal kills!

JACOB'S LADDER is a thought provoking piece of intellectual Horror that takes an introspective look at love, loss, fear, and death through one man's tragic journey. Tim Robbins stars as Jacob Singer, a Vietnam Vet who is haunted by demonic nightmares that begin to materialize in his daily life. As he struggles to maintain his sanity, he is reminded of an experimental drug that was administered to his entire unit which may be the cause for his descent into his own personal hell. Director Adrian Lyne toys with his audience's sanity as well, leaving the viewer just as lost and confused as Jacob is in an opening act that is filled with monstrous imagery and twisted timelines. A series of cleverly placed clues slowly work to unravel the mystery, but the greatest revelations come from Jacob's insightful chiropractor. Robbins brings out an emotional performance as the unassuming Jacob in a sad but touching role. JACOB'S LADDER combines a dark, gritty character drama with a touch of horror and fantasy.

Sunday, December 19, 2010

Roman Polanski stars in his own hilarious spoof on the vampire genre entitled THE FEARLESS VAMPIRE KILLERS. The bumbling Professor Abronsius and his young assistant set off to the snow-capped mountains of Transylvania to stake out its toothy inhabitants, but the two find themselves outnumbered when they land in the middle of a grand vampire ball! Each of the cast members deliver a series of quirky performances, but while Jack MacGowran's confident fool of a professor earns many laughs with his physical gags, it is Polanski's subtle gesturing and soft-spoken humor that wins out in the end. With huge Gothic sets and creeping atmospherics, THE FEARLESS VAMPIRE HUNTERS rivals many of Hammer's best while creating its own dark mood despite the light tone. This can best be seen in the eerie finale, when the three heroes are discovered casting a reflection in the mirror while surrounded by a ballroom of undead dandies. The off humor and slow pacing may be limiting for many viewers, but Gothic film fans will find this Horror Comedy to be quite the delight.

A gifted sculptor is disfigured in a raging fire that was set by his business partner in order to collect their insurance fund, but years later he resurfaces in New York along with a brand new wax museum. At the same time, a crackerjack journalist picks up a hot scoop from the police that bodies have been disappearing from the county morgue. A chance visit to the museum sparks her suspicion when she notices that several of the attractions bear an uncanny likeness to the missing bodies, leaving her to confront the elusive villain herself in his chamber of horrors! THE MYSTERY OF THE WAX MUSEUM was one of the final pictures to be filmed using the two-color Technicolor process, and for the time of its release, the results are quite impressive. Glenda Farrell's Vaudevillian acting can be corny at times, but Lionell Atwill is highly capable as the crippled Ivan Igor. Director Michael Curitz introduces a number of skeevy characters to draw out the mystery and suspense for as long as possible before the shocking reveal in the end. The film would be later remade into the Horror classic HOUSE OF WAX starring Vincent Price, although this version is quite good in and of itself.

Rating: 8/10.

If you liked THE MYSTERY OF THE WAX MUSEUM, check out:HOUSE OF WAX, NIGHTMARE IN WAX, WAXWORK.

Saturday, December 18, 2010

Janet invites her brother, Ted, to live with her and her son in a camper behind their house, but what Janet doesn't know is that Ted was attacked by a werewolf during his last expedition into Nepal, and that he is now infected with the virus. Eric Red, writer of THE HITCHER and NEAR DARK, directs this bloody werewolf film starring Michael Pare and Mariel Hemingway. BAD MOON is an adaptation of the Wayne Smith novel Thor, named for the family's heroic German Shepherd that protects them from the beast. While it is constantly dragged down by the complete lack of logic and shoddy performances, there are two distinct features that make this a hit amongst fans: Christopher Allen Nelson's gory effects and one of the most convincing costume designs ever conceived. Ted becomes a werewolf in the literal sense of the word, more wolf than man with gaping jowls, gnashing teeth, and bushy tail. The film would be otherwise unremarkable were it not for the terrifying creature effects, but they are impressive enough to make this one of the better werewolf entries out of the 90's.

Rating: 6/10.Gore: 6/10.Entertainment: 7/10.

If you liked BAD MOON, check out:THE HOWLING, AN AMERICAN WEREWOLF IN PARIS, WATCHERS REBORN.

Three investigators set off to the remote mountains of Japan to uncover the cause of death for two of their colleagues. When they arrive, the locals beg them to give up their search as not to insight the wrath of their vengeful god Baradagi, but the researchers heed their warnings and the great Varan is awoken once more. The military is called in to defeat the monster, but just as it seems like they have won, the beast takes to the air on a direct path to Tokyo! VARAN is a minor footnote in the long line of Kaiju films that was produced by the GODZILLA creators at the Toho Company and directed by the great Ishiro Honda. Unlike Honda's many other fantasy pictures, VARAN is far less concerned with human interaction, and falls back on stale characters played by emotionless actors. His preoccupation with the military forces is apparent all throughout the film, with a majority of the action centering around soldiers preparing for battle and tanks lining up to destroy the beast. The structural framework clearly mimics the original GOJIRA, but with far less impact or success. It is Varan's incredible costume design along with Eiji Tsuburaya's strong miniature work that take center stage above all else. Another thundering score by Akira Ifukube can also be heard leading up to the monster's appearance. Varan would return to the screen in two of Godzilla's greatest monster melees: DESTROY ALL MONSTERS and FINAL WARS.

Friday, December 17, 2010

OROCHI blends the ancient Shinto legends of the Yamata no Orochi and the discarded prince Yamato Takeru into a thrilling fantasy adventure from the makers of the GODZILLA series! A daring young prince must set out to fulfill his destiny by destroying the evil god Orochi, an eight-headed dragon that he must battle by transforming into a powerful metal warrior. Although the special effects date the film badly, the ornate sets, impressive action sequences, and incredible costuming make for a grand production on a modest budget. Eastern tradition meets Western influence by adapting elements from CONAN THE BARBARIAN and DRAGONSLAYER into the look and feel of the film. OROCHI contains many of the necessary ingredients for a successful fantasy film, including arcane magic, mythical creatures, sword fighting, and an array of giant monsters, but the light tone and often silly acting do not do the legends justice. It is still an exciting adventure that is sure to appeal to Kaiju fans!

Rating: 6/10.Entertainment: 7/10.

If you liked OROCHI, check out:REBIRTH OF MOTHRA 2, HAWK THE SLAYER, JASON AND THE ARGONAUTS.

Thursday, December 16, 2010

Sarah begins working extra hours at the hospital to fill the void left by the loss of her son. On her return home after a long night, she accidentally hits a bloodied teen with her car, and offers to drive him back to her house so that she can nurse his wounds. When a crazed driver attempts to run them off the road, Arthur explains that he had been assaulted by the man and only narrowly escaped, but neither of them expect him to return with a knife in their sleep... Caroline du Potet's film debut features the frightening theme of home invasion that has been made popular by films like FUNNY GAMES and ILS. Although it does offer several bloody moments, IN THEIR SLEEP retains focus on creating a rising tension and suspense. The closeness that Sarah and Arthur share also keeps the audience in a constant state of anxiety as more and more of Arthur's uncertain background is revealed. This is only made possible thanks to Anne Parillaud and Arthur Dupont's strong performances on screen. IN THEIR SLEEP is dark and intense, a fast-paced thriller with a beautiful but shocking finale.

Tuesday, December 14, 2010

Su-Yeon and Su-Mi come to live with their father and his controlling wife after the death of their mother, but their lonely house by the lake is also home to a restless spirit that haunts the girls and invades their nightmares. A deeply moving character drama at heart, A TALE OF TWO SISTERS is made most effective by Su-jeong Lim and Geun-Young Moon's touching performances. Jung-ah Yum is equally impressive as the girls' wicked stepmother, whose incredible range allows her to deceive the audience from the very start. Director Ji-woon Kim is a master of his medium, displaying a complete control over the light, color, texture, and mood of his film. The elegant score continues to accentuate the underlying emotion as well. Kim introduces a strong symbolism, primarily through his use of the color red as a central motif to foreshadow future events. Each of the subtle elements in the film lead up to shocking but well played reveal that is sure to astonish its audiences. A TALE OF TWO SISTERS therefore benefits from repeated viewings in order for the viewer to truly appreciate the craftsmanship that went into the intricately designed finale. Along with Chan-Wook Park's VENGEANCE trilogy, A TALE OF TWO SISTERS solidifies South Korea as the new leader in Asian cinema.

Rating: 10/10.

If you liked A TALE OF TWO SISTERS, check out:LET THE RIGHT ONE IN, MEMENTO MORI, WHISPERING CORRIDORS.

Subtlety gives way to sensationalism in 2009's remake of the Korean masterpiece A TALE OF TWO SISTERS. Two sisters set out to expose their wicked stepmother as a ruthless murderer, but in doing so, they uncover the dark secrets behind their own mother's death. THE UNINVITED takes a soft, touching ghost tale and turns it into an exploitative shocker that perverts the essence and beauty of the original film. The twists are plainly stated in the opening act, which not only insults the viewer's intelligence, but also negates the impact and significance of the events that follow. It also unnecessarily introduces a family of dead children into the plot in order to further implicate the stepmother as the killer. Elizabeth Banks is entirely one-sided in her role, while Emily Browning and Arielle Kebbel's decent performances are wasted thanks to a terrible script. THE UNINVITED is only good for the few cheap scares it can muster on a PG-13 rating.

Rating: 6/10.

If you liked THE UNINVITED, check out:THE GRUDGE, ONE MISSED CALL, SHUTTER.

In the grand tradition of the German Expressionists and modern visualists Jean-Pierre Jeunet and Guillermo del Toro comes MIRRORMASK, a beautifully distorted fairy tale from director Dave McKean. Helena escapes to a twisted dreamworld after her mother is admitted to the hospital, a world of light and dark where The White Queen is held captive under an evil spell, and can only be saved by an enchanted charm: the MirrorMask. With the help of a new friend, Helena must search through the forbidden realm of The Queen of Shadows in order to find the charm and stop the ruin of this strange new world, but her enemies are many, and they look to deliver her to their wicked leader. MIRRORMASK's remarkable style and design resulted from the combined efforts of McKean and the Jim Henson team that had previously been responsible for other epic fantasies like LABYRINTH and THE DARK CRYSTAL. The City of Light and The Land of Shadows are inhabited by odd, misshapen creatures, while the buildings and landscapes are wrought from elaborate dreams and nightmares. McKean uses muted tones to signify reality, and then brightens his brushstrokes with exquisite colors as Helena enters into her fantasy world. He then extracts all forms of color as the shadows drain the land of its life. Unfortunately, the film attempts to hide its many gaping holes in character, story structure, and mythology behind a radiant exterior. These things are quickly forgotten as one immerses themselves fully in MIRRORMASK's brilliant visuals and bewildering dream logic.

Rating: 8/10.

If you liked MIRRORMASK, check out:CITY OF LOST CHILDREN, RE-CYCLE, INK.

Monday, December 13, 2010

Dr. Martin arrives at an asylum for the insane to interview with Dr. Star for a position on his esteemed staff, but he is informed by Dr. Rutherford that Dr. Star has been confined with the other patients after losing his mind. The new director promises Martin the position if he is able to determine which of the patients upstairs is Dr. Star, so Martin must head inside and listen to each of their stories in order to sort out the clues for himself. ASYLUM is another excellent omnibus film from Britain's Amicus Productions that features four short vignettes written by Robert Bloch and directed by Roy Ward Baker. Tales of treachery, murder, and madness fill the halls of the hospital, each one complete with its own ironic ending. Peter Cushing, Robert Powell, Herbert Lom, and Patrick Magee are just a few of the recognizable faces that line the stellar cast. Unlike many other anthology pictures, ASYLUM also ties each of its individual pieces together using an intelligent wrap-around story that is just as twisted and deranged. Roy Ward Baker's dark and somber directing helps to make this one of Amicus' strongest entries.

Rating: 9/10.

If you liked ASYLUM, check out:TORTURE GARDEN, FROM BEYOND THE GRAVE, THE HOUSE THAT DRIPPED BLOOD.

BEVERLY HILLS , CA – December 13, 2010 – He was featured in Entertainment Weekly. He was responsible for the highest rated Syfy Channel creature-feature to premiere in September. Whether in print, or the web, merely saying his name out loud inspired terror and fear. Forget Jaws, here comes...SHARKTOPUS! Produced by Roger (2009 Honorary Oscar®-winner) and Julie Corman, Sharktopus makes its DVD and Blu-ray™ debut on March 15, 2011 from Anchor Bay Entertainment. Starring Oscar®-nominee Eric Roberts (The Expendables, The Dark Knight), Sharktopus has already captivated the nation, as more than 2.5M viewers witnessed last September. SRP is $19.98 for the DVD, and $24.99 for the Blu-ray™, with pre-book on February 16th.

An eight-tentacled nightmare hybrid of shark and octopus, “S-11” was created by genetic scientist Nathan Sands (Roberts) as the U.S. Navy’s next super-weapon. But when its control implants are damaged during a training experiment off the Mexican coast, the beast escapes to Puerto Vallarta to sample the local fare -- bikini babes, jet-skiers, and spring-breakers. With the ocean terror now out of control and seemingly invincible, a ragtag group – comprised of a hotshot mercenary, an investigative reporter, and Sand’s biomechanical engineer daughter – have come together to stop the unholy beast from turning a seaside tourist resort into the ultimate human buffet. But it won’t be easy: it possesses problem-solving intelligence, attacks without mercy or warning – it even has the ability to walk on land. Not to mention a decided affinity to snack on bungee jumpers… Kerem Bursin and Sara Malakul Lane co-star, with a hilarious cameo by Corman himself.

In addition to capturing the hearts and minds of millions of viewers, Sharktopus gripped critics with its outrageous fusion of horror and humor. Examiner.com called it “Awesome! An apex moment in Syfy’s history,” while Horrornews.net declared the film “full of kickassitude!” Reelz Channel said the film “…has all the blood and bikinis you've come to expect from the Roger Corman Film Factory,” and Joe Crowe from RevolutionSF.com noted “Sharktopus finally gets it right. That’s how a creature feature should be done.”
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Beverly Hills , CA – December 13th, 2010 - Anchor Bay Entertainment, in association with Gigapix Releasing and Iron Bull Films, will release the vampire thriller The Bleeding on DVD March 1, 2011. In the tradition of Blade, The Lost Boys and From Dusk Till Dawn, The Bleeding is an action-packed tale of fangs, guns, tattoos and frontier justice on the mean streets, and features an all-star cast including Vinnie Jones (X-Men: The Last Stand, Snatch), Michael Matthias rap superstar DMX (Romeo Must Die), Rachelle Leah, Michael Madsen (Reservoir Dogs, Kill Bill Vol. 1 and 2), tattooed reality star Kat Von D (“L.A. Ink”) and Armand Assante (“Gotti,” American Gangster, Judge Dredd). SRP is $26.98 and pre-book is February 2.

Shawn Black (Matthias) knows pain. His parents and brother were killed in front of him. Beaten, bloodied and left for dead by a gang of ruthless vampires led by the charismatic Cain (Jones) and his lethal lieutenant Vanya (Kat Von D). But like his would-be murderers, Shawn has come back from the brink of death to take his revenge. He soon comes upon Reverend Roy (Madsen), who reveals to Shawn his calling as a “slayer,” the only human capable of truly destroying vampires.

Dark, brooding and with a palpable layer of cowboy justice, The Bleeding spins a tale of otherworldly influences running headlong into the very human thirst for revenge. Redemption comes with a heavy, and bloody, price in The Bleeding.
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Feudal Japan is caught up in bitter strife when the Hanabasa household is toppled by the treacherous Samanosuke. The valiant warrior Kogenta escapes with Tadafumi and Kozasa, the rightful heirs to the throne, and brings them to a mountain sanctuary guarded by the gigantic statue of the great Majin. Years later, Kogenta and Tadafumi gather the loyal vassals of the Hanabasa household to strike back against their oppressor, but they are caught and imprisoned. The guardian priestess Shinobu makes one final attempt to have Samanosuke release the men and give up his reign of tyranny, fearing that his greed will incur the wrath of the mountain god. Instead, Samanosuke slays her and attempts to destroy the statue, but his actions awaken the monstrous Majin, who sets out to avenge his people!

DAIMAJIN is a top-rate Dai-Kaiju from the producers of the GAMERA film series, the Daiei Motion Picture Company. It presents an epic tale of good versus evil that is deeply rooted in Buddhist and Shinto mythology. Kimiyoshi Yasuda delivers a stunning visual style with a rich color palette and superb cinematography, combining the High Fantasy elements of Ishiro Honda's films with the artistic design of Akira Kurosawa. Akira Ifukube's thundering score echoes his work in the original GOJIRA, while the Majin's powerful arrival at the castle gates also resembles Godzilla's first appearance over the island mountains. The incredible special effects created by Yoshiyuki Kuroda also stand to rival the work of Eiji Tsuburaya, with a number of impressive techniques that bring the great Majin to life on-screen. Yasuda's beautiful blend of feudal warfare and giant monster mayhem is a welcome addition to the long line of Kaiju films out of Japan.

Rating: 9/10.

If you liked DAIMAJIN, check out:GODZILLA, FRANKENSTEIN CONQUERS THE WORLD, THE GOLEM.

Director Carly Lyn defies classification in her breakthrough feature, A FOUNDLING. By combining elements of the Western with Science Fiction and Horror, Lyn creates a touching character drama with an otherworldly twist. Two sisters set off across the desert on horseback to reach their home in San Bernadino, but along the way they uncover an alien child amongst the wreckage of a derelict spacecraft and bring him along for the journey. Their travels lead them to despair as they face hunger, sickness, and worse out in the perilous wilderness. Cindy Chiu and Nora Jesse are exceptional as Virginia and Mattie. They each represent empowered female characters that are able to convey heartfelt compassion and warmth even throughout their most difficult trials. A FOUNDLING's winning score, desolate locations, and breathtaking cinematography also contribute to the overall beauty of the film. Lyn's willingness to bend genre conventions in order to tell a highly personal and emotional tale leads to a truly unique piece of Independent cinema that is very wide reaching.

Sunday, December 12, 2010

France has recently exploded with a number of critically-acclaimed Horror films in the last decade, and writer/director Caroline du Potet now joins the ranks of exciting new filmmakers out of the country with the release of her new thriller IN THEIR SLEEP! Caroline stopped by I Like Horror Movies to discuss her experiences working on the film in this weekend's interview:

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ILHM: Caroline, how was IN THEIR SLEEP conceived?

CP: At the beginning, this project was born out of our desire to make a French thriller. The concept of the story originated with the idea that appearances can be deceiving, and the "monster" is not always the one that he seems to be... Unlike the classical villain which is always a beast without any feelings, we wanted to create an ambivalent character; half demon, half angel...

ILHM: Was the film inspired by true events?

CP: No, but it's true in the sense that this story could be a case in the news. It was important for me to make a very realistic film because I have always been convinced that the stories which could happen to us, to anybody, are much more frightening for the audience than imaginary monsters.

ILHM: What were your major influences going into the film?

CP: Our biggest influences were Sam Peckinpah with STRAW DOGS and John Boorman's DELIVERANCE. Like in these films, we wanted the violence on the screen be realistic, without bloody effects. The tone of the movie had to be tough, with no humor. But it was also important to include some dark poetry with shots of Nature and insist on the growing feelings between the two main characters...

ILHM: Was there much studio involvement in the production?

CP: Artistically speaking, we were relatively free to make the film we wanted. The problem was budget restrictions. We had to rewrite the script and cut some scenes because we didn't have enough money. Shooting conditions were very hard. Fortunately, like most of the French directors, we had the final cut.

ILHM: How did Anne Parillaud first become involved in the project?

CP: Anne was the only French actress we imagined to play Sarah's character. We wanted a woman that was strong and fragile at the same time. Fortunately for us, we sent her the script and she was immediately taken with the project!

ILHM: What is the significance of IN THEIR SLEEP's opening scene?

CP: The first image when we see Sarah lying in the grass refers to Arthur Rimbaud's famous poem Le dormeur du val. It's about a soldier who is sleeping in the grass, but at the end of the poem, we understand that in reality he's dead. It's the same idea here. We think at the beginning Sarah is sleeping, when she's already dead. I loved the idea of showing the audience the end of the film from the start.

ILHM: What were your greatest difficulties as a first-time director, and how did you overcome them?

CP: My greatest difficulties were the lack of time... and the weather. We shot almost always during the night, in the forest, in the rain! (No of this had been planned in the script...) Some special effects didn't work very well and made the crew lose a lot of time. We didn't have time to shoot all the shots we had planned. It was always a race against the clock! Nevertheless, the atmosphere on the set was great. All the crew loved the project and threw themselves completely into the film.

ILHM: Why do you feel France has experienced such a huge Horror resurgence in recent years?

CP: Ten years ago, it was almost impossible to make a horror film in France. There were only comedies or intimist dramas. Then, a new generation of filmmakers raised with US thrillers, like Alexandre Aja or Pascal Laugier, started to initiate the movement. So young producers decided to produce some genre films, almost always feature debuts and low-budget films... Horror films are not successful in France but the international sales are good. So in the end, they are quite profitable films.

ILHM: How have the riots in and around Paris affected recent filmmakers in France?

CP: There were some riots in the suburbs but it wasn't as serious as the foreign news media reported it. All of this has been really exaggerated. It's wasn't May 68! So I think the current social tensions can affect French filmmakers but not this particular event.

ILHM: Do female filmmakers experience the same barriers to entry in France as they do in America?

CP: No, I don't think so. France is perhaps the country where there are the most female filmmakers. But only a very few of them are interested in genre films. They prefer dramas and arthouse films in general.

ILHM: Are you currently working on a new project?

CP: Yes, we are working on a new French project, a "hitchcockian" thriller called TOTEM. We'd like to shoot it next year in the south of France. It will be more psychological than IN THEIR SLEEP.

ILHM: How did you first become involved with BleedFest, the American film festival for female filmmakers?

CP: Elisabeth Fies,the festival programmer for BLEEDFEST, saw IN THEIR SLEEP at Bram Stoker International Film Festival where we won the Best Director award. She loved the film and asked me if she could screen it at her festival.

ILHM: Did you ever expect to receive such a positive response overseas, leading up to your win for the first official "Bleedy" award?

CP: I didn't really know what to expect because the film has not been very well received in France. But I was hopeful because I know the US audience loves horror films and is very curious about French genre films. Anyway, Eric and I are really happy of this positive response here. As it's our first feature film, it's an important encouragement to continue on this path.

ILHM: Where can readers find out more information on the film and its upcoming release?

IN THEIR SLEEP is currently available On Demand and in a limited theatrical release across the country, so be sure to visit the IFC homepage for more information! We would also like to extend a very special thanks to Caroline du Potet for taking the time to speak with us this weekend!

The dimwitted Tank is hired by an eccentric doctor that has become the new owner of Andre Toulon's magical living puppets. Dr. Magrew uses Tank's uncanny woodworking skills to begin carving a brand-new puppet for his own cruel intentions. Borrowing generously from 1973's SSSSSSS, director David DeCoteau proves that the real CURSE OF THE PUPPET MASTER is Full Moon's unwillingness to give up on the failing series. There is a spark of creativity here in the sixth installment, but not enough to make up for the weak acting and exhaustive plot. The puppets, themselves, are poorly articulated, and appear far less than they have in previous installments. Even die-hard fans will find this to be a difficult watch.

HOLLYWOOD, CA - December 12th, 2010 - Charles Band is proud to announce the introduction of a gift card worth 3 times its initial value. The gift card is part of a promotion designed to help Full Moon Features with the much higher costs involved in filming their latest feature film, Evil Bong 3D - The Wrath of Bong, scheduled for release on April 20, 2011 (National Pot Day) in select cities. In addition to 3-D the film will also be in "Sniff-O-Rama" as movie goers will be handed scratch and sniff cards to further enhance this unique experience

The Gift Card, entitled The Evergreen Gift Card costs $200 and entitles the holder to $200 worth of Full Moon merchandise every year for 3 years. It automatically renews itself at the end of the year at no extra cost, enabling the buyer to come back each year and buy more merchandise($200 in 2011, $200 in 2012 & $200 in 2013!). A total value of $600 in Full Moon merchandise, DVD’s, collectibles purchased at www.fullmoondirect.com for the initial price of just $200.

In addition, Evergreen card holders will receive a limited edition 11x17" Evil Bong 3D poster signed by the entire cast PLUS an on-screen Executive Producer credit. This offer is limited to 900 Gift cards. The card itself is a hard plastic credit card with the image of Blade from the Puppetmaster movies on it and considered a collectible. Fans of Charles Band’s films can take their pick of Full Moon merchandise and know that being an Evergreen Gift card holder makes them an integral part of the film making process – plus additional surprises and contests will be announced in the coming months and will only be available to the cardholders. It’s understood that making an independent feature film, especially in 3D, is a big financial challenge. Offering this gift card to the fans will benefit the fans and enable Full Moon to make this new film as entertaining and hilarious as possible.

Charles Band has sustained a remarkable track record as an industry pioneer over the past thirty years, With 300 feature films under his belt, the Chairman and Founder of Full Moon Pictures shows no signs of slowing down.

In 1977, when no one in the industry shared his vision that home video was "the shape of things to come", Band founded Media Home Entertainment, a company that became one of the original independent video distribution operations in America. His foresight and unwavering commitment to this marketplace helped pave the way for the colossal home video boom to come. In 1989 Charles Band pioneered the direct to video feature with the formation of Full Moon Entertainment and the creation of the Puppetmaster series which is the most successful direct-to-video film series of all time.
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Two brilliant geneticists rush to splice human DNA with the recombinant DNA of several receptive animal strains to form a unique new life-form before their funding is pulled by their investors, but their careless disregard for the dangerous consequences unleashes a killer creature in their small lab. This simple retooling of SPECIES is no more intelligent or entertaining, although it does try to mask itself behind a pompous air of psuedo-science. SPLICE sells itself as an intellectual Horror film, but the questions it raises regarding the ethics of cloning are made silly due to the ridiculous plot and unprofessional practices of its characters. Adrian Brody and Sarah Polley are unremarkable as the leads, lending very little to the "nature versus nurture" debate in their respective roles. The cartoony computerization used for Dren's various stages of evolution is a blemish on KNB's typically impressive track record. SPLICE is just another substandard SciFi shocker with a glossy exterior.

Six affluent members of society are brought to a millionaire's isolated retreat during the phase of the full moon in order to determine which of them might be a werewolf, but it will be up to the audience to decide in the end after assembling each of the clues laid out before them! THE BEAST MUST DIE is a hairy little murder mystery that draws clear influence from the gimmicks used by master showman William Castle. After setting up each of the characters as possible culprits, director Paul Annett breaks for thirty-seconds to allow the viewer time to guess at who the werewolf might be. While this is an interesting approach to the material, it never reaches its true potential due to the poor pacing and repetitive clues. Annett spends the majority of the film focusing on the character that he has clearly designated as the red herring, which leaves the audience with far too little time to study the other house guests and no real clues as to the identity of the true killer. THE BEAST MUST DIE lacks the shock or suspense needed for it to become a success, but it is still a mildly entertaining mystery with more than a little werewolf action.

Rating: 6/10.

If you liked THE BEAST MUST DIE, check out:HOWLING 5, HOMICIDAL, Werewolf Concerto.

SPIDER BABY tells the strange and twisted tale of the Merrye children, each of whom suffer from a debilitating disease that slowly causes them to revert into pre-human savages with a taste for human blood! The children receive an unexpected visit from their aunt and uncle, a pair who intend to remove them from the care of their father's servant with the help of their conniving lawyer, but the children have other plans for their unwelcome visitors... Jack Hill's highly-influential cult classic is light in mood and dark in humor, making it a perfect blend of comedy and terror. SPIDER BABY offers one of the last great performances by Lon Chaney Jr. as the children's kooky caretaker Bruno, whose loyalty and dedication to the children lies just on the brink of madness. As the title suggests, Elizabeth, Ralph, and Virginia have reverted back into a feral state, where they hunt and kill their prey like spiders using nets and knives. The children, played by a young Sid Haig, Beverly Washburn, and Jill Banner, are as sweet and endearing as they are utterly insane. They look devilishly deranged with their wild-eyed expressions as they gleefully butcher their house guests. SPIDER BABY is as unique and edgy now as it was upon release, and it is a refreshing change of pace from the average Horror film.

Rating: 9/10.

If you liked SPIDER BABY, check out:FREAKS, THE OFFSPRING, DEVIL TIMES FIVE.

Saturday, December 11, 2010

Paul Morrissey's outrageous takes on the Horror classics in FLESH FOR FRANKENSTEIN and BLOOD FOR DRACULA border on genius and insanity. Shot back-to-back, these experimental film oddities were made on impossibly low budgets and were entirely improvised according to rough script outlines. The results produced two of the most unique, original, and wildly entertaining entries in the genre! BLOOD FOR DRACULA opens with the enfeebled count masking his pallid complexion beneath make-up and hair dye so that he may disguise himself as he travels to Italy in search of a virgin bride. Dracula is taken in by an affluent family with four beautiful young daughters, whom he attempts to court before he is discovered by a perceptive field hand. Udo Kier's Dracula is unlike any other; weak, crippled, and unalluring, he is hardly a reflection of Bram Stoker's powerful and persuasive character that is introduced in the original novel. Morrissey establishes his own set of rules in this version as well, allowing Dracula to walk in the daylight and to eat normal foods amongst many other changes. He still manages to put together elegant sets and locations with what little money he had in order to bring the story to life. The cast had been selected from all over Europe, which adds to the absurdity on-screen when the "Romanian" count and his escort Anton speak in thick German accents, while the "Italian" maidens are unmistakably French. Joe Dallesandro seems all the more out of place as he is transplanted into Italy with his distinct Brooklyn accent, but he commands the screen as the macho womanizer Mario Balato. For not having any lines written for them, the assortment of actors play off of each other brilliantly, stringing together a coherent narrative that gives way to pure camp. Kier and Arno Juerging ham it up as the Count and his assistant, and their eccentric performances are nothing short of hilarious. Each of them repeatedly mispronounce "daughter" and "virgin," confusing the audience with their talk of "doctors" and "wirgins." Because of this form of theatrical filmmaking, many viewers are likely to find the acting, direction, and dialog to be completely off key in their initial viewings, but a closer examination reveals BLOOD FOR DRACULA to be an intelligent and provocative piece of cinematic art that is quite unlike anything else in Horror.

Friday, December 10, 2010

The highly-anticipated teaser for the Soska Sisters' second feature film is now live on the Twisted Twins Products homepage and Youtube!! AMERICAN MARY is the Soskas' follow-up to the critically-acclaimed Indie hit DEAD HOOKER IN A TRUNK, which has taken the web by storm! The new film has been shrouded in secrecy for several months now, so hopefully this trailer will open the floodgates of information. Check out the trailer and poster for AMERICAN MARY below, and be sure to keep up-to-date with all of the new details on I Like Horror Movies and at Twisted Twins Productions:

Thursday, December 9, 2010

Miguel Rodriguez, creator of the Horrible Imaginings Film Festival in San Diego California, wants to invite you to come to the event for FREE!! That's right, Miguel is giving away a pair of tickets to come see THANKSKILLING, TREEVENGE, and the Christmas classic CHRISTMAS EVIL to one lucky winner this week on ILHM! December's event promises to bring plenty of bloody holiday joy, with special guest Lewis Jackson, director of CHRISTMAS EVIL, appearing to present his film.

What do you need to do to win? Answer the quick and easy question below by e-mailing us at ilikehorrormovies@yahoo.com and you will be entered into the drawing immediately! Please, only enter if you can attend the event, and if you are located in the San Diego area, also be sure to spread the word!

The question for this evening:

"What film legend considers CHRISTMAS EVIL to be 'The best seasonal film of all time'?"

The answer can be found at the Horrible Imaginings homepage at the link above!

The winner will be chosen at random the evening of Sunday, December 12th, so be sure to get your answers in as soon as possible. For others that would like to attend the event, the cover is an easy $20 at the door for all THREE films, so bring your friends!
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An out-of-town punk band is hired to play a show in a seedy dive bar, but what they don't know is that the bar sits on top of a portal to hell, and that they are actually auditioning to become the next big meal for the undead! NIGHT OF THE PUNKS kicks off with the same bloody splatter and silly humor as 80's cult classics like NIGHT OF THE DEMONS. It sets up for an epic rock adventure in just a few brief scenes, but the short run time results in a rushed climax that leaves the audience wanting more. Although the zombie make-up appliances are very apparent, the rapid-fire gore is handled very well and coats the screen in green and red. NIGHT OF THE PUNKS shows a great deal of potential, and would be much better served as a feature-length film.

Connie is on her way home from work in downtown Los Angeles when her road rage finally catches up with her. A rogue truck begins following her after she flips off the driver, but that is the least of her worries as her engine starts to sputter out... Barbara Stepanksy's latest short turns everyday driving into a horrifying nightmare. Like a modern fairy tale, it enforces a sense of morality through bitter life lessons. LA locals can also appreciate the familiar scenery and shared sense of frustration with the city's busy streets, and while the acting and editing are a little rough, ROAD RAGE pays off in its ironic and bloody end. ROAD RAGE is currently a work in progress, so it will likely show more improvement by the time it is released.

Wednesday, December 8, 2010

HOLLYWOOD, CA - December 8, 2010 - Charles Band is proud to announce the Full Moon 3-D theatrical presentation of “EVIL BONG 3-D: THE WRATH OF BONG”, the latest entry in his smash hit stoner “EVIL BONG” series. The theatrical release of “EVIL BONG 3-D: THE WRATH OF BONG” will be presented in 3-D and “Sniff-O-Rama”. The release date is scheduled for National Pot Day – April 20, 2011.

Charles Band, the Chairman and Founder of Full Moon Features was a leading force in the 1980’s rebirth of 3-D. Charles knows what the audience wants out of 3-D, having directed the 3-D features “PARASITE” starring Demi Moore (1982) and “METALSTORM: THE DESTRUCTION OF JARED-SYN” (1983).

Charles Band says… ”Audiences go to 3-D movies for one reason; to have things thrown at them, to be thrilled, to duck and to reach out to touch things, and we’re not going to let them down”. “EVIL BONG 3-D: THE WRATH OF BONG” will feature “the record amount of naked alien beauties, boobies, and reefer hits to ever be presented in 3-D”.

In “EVIL BONG 3-D: THE WRATH OF BONG” an evil alien bong crashes on earth. Its intent; world domination. Our stoner heroes are transported to the alien bong home world and held captive by nude alien beauties. Their only hope to escape and save planet earth; EBee, the original Evil Bong. The original whacked out cast of stoners from EVIL BONG 1 + 2 returns.

“EVIL BONG 3-D: THE WRATH OF BONG” will utilize classic showmanship techniques including 3-D glasses and scratch and sniff cards. This will be a wild and crazy “THE ROCKY PICTURE SHOW” like experience with audience participation.

Charles Band will visit select cities in person and present a live stage show before showings of “EVIL BONG 3-D: THE WRATH OF BONG”. These special roadshow events will feature celebrity appearances, contests, audience participation, and collectables for sale in the lobby.

“EVIL BONG 3-D: THE WRATH OF BONG” will be released on National Pot day April 20, 2011. Advance screenings will be held in select cities.

ABOUT CHARLES BAND

Charles Band has sustained a remarkable track record as an industry pioneer over the past thirty years, With 300 feature films under his belt, the Chairman and Founder of Full Moon Pictures shows no signs of slowing down.

In 1977, when no one in the industry shared his vision that home video was “the shape of things to come”, Band founded Media Home Entertainment, a company that became one of the original independent video distribution operations in America. His foresight and unwavering commitment to this marketplace helped pave the way for the colossal home video boom to come. In 1989 Charles Band pioneered the direct to video feature with the formation of Full Moon Entertainment and the creation of the Puppetmaster series which is the most successful direct-to-video film series of all time.
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“…will leave audiences wondering if modern technology is really as safe as we think it is…”- Screenhead.com

“…devilishly unpredictable…”- Newsblaze.com

DON’T BREAK THE CHAIN OF TERROR!

CHAIN LETTER

With “Twilight’s” Nikki Reed and “Saw’s” Betsy Russell

Opens on DVD, Unrated DVD, Blu-ray™ and Digital DownloadCHATSWORTH, CA – December 8, 2010 – Electronic mail. Cell-phone texting. Unthinkable a generation ago, these technological marvels are considered by many as life-saving devices. But what if these contributions become an instrument of murder – when your death is announced in the subject line? On February 1, Image Entertainment releases Chain Letter – a story of a deadly communiqué carrying a message of murder, if the recipient dares to break the chain. Where the “e” in e-mail could mean “execution,” after a national theatrical release, Chain Letter will be available on DVD in separately-available rated and unrated versions for an SRP of $27.97, on Blu-ray™ for an SRP of $29.97 as well as digital download. Pre-book date is January 4, 2011. The unrated version contains new footage not seen in the theatrical release.

Nikki Reed (Twilight, New Moon) stars as Jessie, a high-school student addicted to her laptop and cell phone – to every mode of cyber-speech. But suddenly this communication turns from amusement to menace. She and six of her friends become the subjects of a chain letter that is much more than the usual combination of annoyance and guilt. Arriving through e-mail and text message, the letter carries a threat: that if it is not passed on, the party to blame faces an unexpected, horrible death.

Unstoppable and barely believable…this is a message that cannot be deleted. But to forward this message on would ensure the death of a friend – does one save or be saved? As time runs out, the lethal letter’s instructions become more challenging – it is up to the survivors to find who is behind these deadly dispatches: before they are dispatched themselves.

Also starring Betsy Russell (Saw III – VI), Brad Dourif (Emmy® nominee, “Deadwood”) and Michael J. Pagan (“CSI Miami”) Chain Letter is a thriller in the terrifying tradition of The Grudge and the Final Destination films. It is where every link is a death, where each death forms a chain…and where anyone can be next.

About Image Entertainment

Image Entertainment, Inc. is a leading independent licensee and distributor of entertainment programming in North America , with approximately 3,200 exclusive DVD titles and approximately 340 exclusive CD titles in domestic release and approximately 400 programs internationally via sublicense agreements. For many of its titles, the Company has exclusive audio and broadcast rights and, through its subsidiary, Egami Media, Inc. has digital download rights to approximately 2,000 video programs and over 300 audio titles containing more than 5,100 individual tracks. The Company is headquartered in Chatsworth , California . For more information about Image Entertainment, Inc., please go to www.image-entertainment.com.
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Tuesday, December 7, 2010

LOS ANGELES, CA - December 7, 2010 - Fighting Owl Films released a new trailer for their independent adventure-comedy, The Night Shift. The teaser, viewable on the official website (http://www.thenightshiftmovie.com/trailer.html), introduces some of the main characters and gives the audience a glimpse of the film's supernatural storyline.

The Night Shift is the first feature for the Mobile, Alabama based film group, and is based on their short of the same name. The short became an online hit, receiving considerable praise that includes a positive review from no less than genre titan, Fangoria.

From the official website: What if you could live forever? What if you had to spend that eternity stuck in a cemetery with only a limbless corpse for a friend, and cantankerous "residents" that were anything but resting in peace? That's the situation for Rue Morgan, night watchman extraordinaire, in this rollicking supernatural adventure-comedy. Rue, along with his buddy Herb, spends his nights watching out for zombies, and his days dreaming of a date with hard-nosed day-shifter, Claire. It's an okay eternity--until a scourge of paranormal occurrences leaves Rue not only watching the cemetery, but also watching his back! Based on the hit short film that critics have called "delightful", "charming", and "unapologetically goofy", The Night Shift is guaranteed to be the most fun you've ever had in a cemetery!

The Night Shift is currently in post-production and seeking distribution. The trailer, as well as information on the film and its creators can be found at the movie's official website, www.thenightshiftmovie.com. More about the company, as well as the original short, is available at www.fightingowlfilms.com. To stay abreast of the latest news and information regarding The Night Shift, follow Fighting Owl Films on Facebook or Twitter.
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“It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood, who strives valiantly; who errs and comes short again and again; because there is not effort without error and shortcomings; but who does actually strive to do the deed; who knows the great enthusiasm, the great devotion, who spends himself in a worthy cause, who at the best knows in the end the triumph of high achievement and who at the worst, if he fails, at least he fails while daring greatly. So that his place shall never be with those cold and timid souls who know neither victory nor defeat.”